It holds out the promise of a solid, if unspectacular, network procedural, but it’s ultimately as banal and imprecise as its title.
“Halfway to a Donut” is the most focused episode of Homeland so far this season.
For all the sound and fury it expends to propel this season’s narrative in new directions, the aptly titled “Redux” in fact sends Homeland hurtling into history.
It spirals toward the conceit the series has always used to frame its chase down the rabbit hole of American foreign policy.
It struggles to stake out new territory, but emerges as an absorbing portrait of internecine squabbles during an ostensible Cold War thaw.
Tonight’s episode of Homeland ably frames its accelerating narrative as a clash between competing intelligence agencies.
Tonight’s episode of Homeland transforms the laborious setup of “Shalwar Kameez” into a precipitous cascade of new developments.
“Shalwar Kameez” is a story in three smiles: one knowing, one exhilarated, and one conspiratorial.
The Affair’s impressionistic mystery emerges here fully formed, as though it had been waiting to be discovered all along.
It succeeds in establishing the psychological state of play with much the same straightforwardness that “The Drone Queen” traded in politics.
The reset that follows Nicolas Brody’s death in Iran at the end of season three may save Homeland from ignominy.
It bears Shonda Rhimes’s imprint by embracing the flawed and the frail, the becoming rather than the being, in the service of its lavish theatricality.
Madam Secretary shoehorns the vast complexity of geopolitics into the most blandly centrist Americanism imaginable.
Picking up where “Cairo” left off, the season finale features a series of reckonings, not all of them as satisfying as one might have hoped.
“The Garveys at Their Best” is, principally, a reconsideration of characters we believe we’ve come to know.
“Cairo” sees the residents of Mapleton tested in the same way God tested Abraham, and more than a few are found wanting.
It pauses to establish the constellation of conflicts driving the first season of The Leftovers to its conclusion.
With “Guest,” The Leftovers whittles away Nora’s placid exterior until all that’s left is the abraded soul inside.
An enthralling portrait of what happens when the urge to move on collides with the persistence of grief.
I’m excited by its proficiency with an unorthodox brand of suburban drama, part Left Behind and part Leave It to Beaver.